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I made this in a fabric jewelry class at my local library.
Created in DALL-E 3.
See more here: www.youtube.com/@journeymanplayer7459
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I can't tell you how happy I am to see flowers everywhere again.
Here's another bit of slow stitching. Making these little gift tags is fun because they're quick to do. It seems I may not have the right personality to create something the size of a quilt. :)
The Art Deco buttons are made from carved abalone shell with domed purple casein centres. They date from the 1920s. The flowers, of course, are Wisteria.
Taken with Lensbaby Velvet 56.
Remarkably, it looks like locals (as well as Airbnb-ers) live in central Rome.
Studio Piccolo, Montreal (2023)
Detail of Coat showing a fusion of styles, c1900–30
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Detail of Coat showing a fusion of styles, c1900–30
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Detail of Coat showing a fusion of styles, c1900–30
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Detail of Coat showing a fusion of styles, c1900–30
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Coat showing a fusion of styles, c1900–30
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
Shan states
Silk, cotton
Coats became common at Shan courts in the 1920s, possibly as a result of Shan princes visiting India. This example has been adapted for European use. It is made of silk decorated with popular European designs of East Asian buildings set among landscapes. The buttons are in a Chinese style, while the lapels and sleeves are adaptations of European fashions. The flare of the hem resembles the robes of Indian rulers.*
From the exhibition
Burma to Myanmar
(November 2023 – February 2024)
From influential superpower to repressive regime, Myanmar – also known as Burma – has seen dramatic fluctuations in fortune over the past 1,500 years.
Experiencing decades of civil war and now ruled again by a military dictatorship, Myanmar is an isolated figure on the world stage today, and its story is relatively little known in the West. However, the extraordinary artistic output of its peoples, over more than a millennium of cultural and political change, attests to its pivotal role at the crossroads of Asia.
Picking up the thread around AD 450, the exhibition explored how Myanmar's various peoples interacted with each other and the world around them, leading to new ideas and art forms. From the 14th century several kingdoms jostled for power and expanded important links with Thailand, China, Sri Lanka, and traders from the Middle East and Europe, creating a fertile ground for diverse cultures to flourish; a coin issued by King Dhammaraja Hussain (r. 1612–22) of the Arakan kingdom, inscribed in Arakanese, Bengali and Persian, shows the wide reach of his trade and political networks.
Rulers in central Myanmar came to dominate parts of the region between the 16th and 19th centuries, becoming the largest empire in mainland Southeast Asia. A stunning gold and ruby-studded letter sent by King Alaungpaya to George II in 1756 speaks to the empire's wealth and power.
Annexation by the British in the 19th century saw tremendous changes impacting art, culture and society – and contributed to the turmoil faced by Myanmar today. The show concluded by exploring how modern-day artists have defied state censors, marrying activism with artistic traditions in expressions of resistance and hope.
[*British Museum]
Taken in British Museum
